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206 / appendix a Most Frequently Mentioned Single Works (continued) Title Number of Mentions The Spy 8 The Adventures of Huckleberry Finn 7 The House of Mirth 7 The House of the Seven Gables 7 Red Rock 7 Robinson Crusoe 7 A Tale of Two Cities 7 Most Frequently Mentioned Authors Author Number of Mentions Ralph Waldo Emerson 30 William Shakespeare 30 Henry Van Dyke 30 William Makepeace Thackeray 26 William Dean Howells 24 Nathaniel Hawthorne 23 Thomas Carlyle 20 F. Marion Crawford 19 Edgar Allan Poe 19 Oliver Wendell Holmes 18 Thomas Nelson Page 18 Edith Wharton 18 James Lane Allen 17 Henry James 17 Alfred Lord Tennyson 17 Charles Dickens 16 Sarah Orne Jewett 16 Sir Walter Scott 16 Mrs. Humphry Ward 16 Kate Douglas Wiggin 16 Owen Wister 16 Thomas Bailey Aldrich 15 Margaret Deland 15 Henry Wadsworth Longfellow 15 S. Weir Mitchell 15 appendix a / 207 George E. Woodberry 15 George Eliot 14 Ellen Glasgow 14 F. Hopkinson Smith 14 James Fenimore Cooper 13 Mary E. Wilkins Freeman 13 Rudyard Kipling 13 Matthew Arnold 12 Washington Irving 12 John Greenleaf Whittier 12 George Washington Cable 11 John Fox Jr. 10 Hamlin Garland 10 Mark Twain 10 Honoré de Balzac 9 William Frend De Morgan 9 John Fiske 9 Thomas Hardy 9 Booth Tarkington 9 Appendix B: “Novels Descriptive of American Life” (November 1908) An interesting and profitable course running parallel with a course in history, sociology, biology, or poetry could be arranged by reading some of the following novels dealing in a serious spirit with American character and life: Simms’s “The Partisan” Cooper’s “The Spy” Hawthorne’s “The House of the Seven Gables” Cable’s “Old Creole Days,” “The Grandissimes” Howells’s “The Rise of Silas Lapham,” “A Hazard of New Fortunes” Eggleston’s “A Hoosier Schoolmaster” Bret Harte’s “Luck of Roaring Camp and Other Stories” Mary Hallock Foote’s “The Led-Horse Claim” Octave Thanet’s “Heart of Toil,” “Stories of a Western Town” Wister’s “The Virginian,” “Lady Baltimore” F. Hopkinson Smith’s “The Fortunes of Oliver Horn” Thomas Nelson Page’s Short Stories and “Red Rock” Mrs. Deland’s “Old Chester Tales” J. L. Allen’s “Flute and Violin,” “The Choir Invisible” Frank Norris’s “The Octopus,” “The Pit” Garland’s “Main Travelled Roads” Miss Jewett’s “Country of the Pointed Firs,” “The Tory Lover” Miss Wilkins’s “New England Nun,” “Pembroke” Churchill’s “The Crisis,” “Coniston,” “Mr. Crewe’s Career” 210 / appendix b Brander Matthews’s “His Father’s Son” S. Weir Mitchell’s “Hugh Wynne” Fox’s “The Little Shepherd of Kingdom Come” Mrs. Wharton’s “The House of Mirth” Robert Grant’s “Unleavened Bread” Robert Herrick’s “The Common Lot,” “The Memoirs of an American Citizen” Grace F. King’s “Balcony Stories” Notes Introduction 1. “To-Day’s Books and Their Authors,” 2. 2. Ibid. In the absence of archival evidence of such reader letters, it is of course impossible to know for certain that hundreds of Journal readers actually did request such a feature or that they phrased it in the precise language of this announcement. Still, we can discern a good deal about reading attitudes among Journal readers, or at least the editorial perceptions of those attitudes, or perhaps editorial desires to foster such attitudes, from this advertisement of coming attractions. 3. Dreiser, Sister Carrie, 393. Subsequent references are parenthetically cited as SC. 4. M. H. Dunlop argues that Dreiser does not simply evoke this “mechanicallyproduced ” popular fiction to critique the “multiply produced” popular tastes of the day but that he specifically mentions these novels because they can function so effectively as oblique commentary on his own heroine’s story. Plot and character parallels make it possible to read Carrie’s life either as a version of the Ross novel (and thus a “sensation” novel) or as a variation on the Clay novel (a “sentimental” novel) (Dunlop , “Carrie’s Library,” 201–15). Dunlop seems, though, to undercut her own nuanced readings by emphasizing Dreiser’s disdain of the popular novel and downplaying Dreiser’s apparent attention to and communion with the specifics of popular texts, however “multiply produced” or hackneyed. Dreiser’s careful selection of these texts in fact works to the allusive advantage of the reader who would have been familiar not just with the reputations of these works as “trash” but with the details of these texts: in other words, with readers like Carrie who were delving into Dreiser’s text in the same...


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